Mastering EQ Techniques: Subtractive vs Additive Moves on the Stereo Bus
Mastering EQ uses broad, subtle moves on the full mix. Learn subtractive vs additive EQ, typical frequency zones, and when a mix needs correction before mastering.
Mastering EQ shapes the entire stereo mix — not individual tracks. Moves are broad and subtle: often ±0.5 to 2 dB with wide Q. The two core approaches are subtractive EQ (cutting problem frequencies first) and additive EQ (gentle boosts for air, weight, or presence after problems are reduced).
Key takeaways
Cut before boost — remove mud, harshness, or boominess before adding character
Start by identifying what feels wrong at matched loudness against a reference. A wide −1 dB cut at 300 Hz can reduce boxiness without thinning the whole mix. Narrow surgical notches are rare in mastering unless fixing a resonant problem; prefer gentle, broad curves.
Additive mastering EQ
After subtractive cleanup, small shelves or bells add polish: +0.5–1 dB above 10 kHz for air, or a broad low shelf for warmth. Always A/B at the same perceived loudness — boosts sound better when louder, which hides bad decisions.
Corrective vs tonal EQ order
Most engineers run corrective subtractive EQ first, then optional tonal or character EQ, then dynamics. See Mastering Chain Stages and Mid/Side Mastering EQ for width-specific moves.
Hear tonal balance applied
AI Mastering applies style-aware EQ as part of a full chain — useful for A/B against your own masters.